Graduate Courses Archives

Fall 2008

MUSIC 223: MUSIC RENAISSANCE
The Motet in the Late Renaissance
Kerry McCarthy. W 4:25-6:55PM, Biddle 069

This seminar is dedicated to motets from the post-Josquin generation through the beginnings of the seconda prattica. We will study the sixteenth-century motet in light of contemporary influences: new ideals of text-setting, the continuing evolution of musical language, the rise of music printing, and the sharpening of ideological conflicts. We will look at a wide variety of music, along with relevant primary and secondary sources. Topics for study include compositional process, definitions of genre, ritual and social function, national and international styles, interplay between the Latin motet and vernacular music, and questions of performance practice. Students are encouraged to make their own reseach interests a part of the class.

MUSIC 226: Nineteenth-Century Women Composers
Larry Todd. M 4:25-6:55PM, Biddle 069

A proseminar devoted to nineteenth-century women composers, including but not necessarily limited to Louise Reichardt, Fanny Hensel, Josephine Lang, Clara Schumann, Louise Farrenc, Cécile Chaminade, and Amy Beach. Students will be encouraged to explore representative examples of smaller and larger forms--e.g., songs and piano character pieces, chamber, orchestra and choral works--and to consider the contexts in which this music was composed, performed, and received.

MUSIC 227: An Introduction to Jazz Scholarship
Thomas Brothers. T 4:25-6:55PM, Biddle 069

In this class we will read in a variety of areas of recent jazz scholarship, from early jazz in New Orleans thorugh the Civil Rights era. We will also work collectively on a transcription project. Grade based on weekly assignments, class participation, transcription project, and term paper.

MUSIC 228: Collegium Musicum
Tom Moore. M 7:15-10:00PM, Biddle 101

The Duke Collegium Musicum is an organization of undergraduate and graduate students and other interested members of the Duke community devoted to the performance of music for small groups of voices and/or instruments. Its repertory includes (but is not limited to) Gregorian chant, Renaissance motets and madrigals, and Baroque sonatas and cantatas. The Collegium is open to all members of the Duke community with an interest in performing music that is both unusual and exciting. The ability to read music is necessary, and the Music Department owns a number of period instruments (from gambas to sackbuts) that can be made available to qualified participants.

MUSIC 295S: Music for Large Ensembles
Scott Lindroth. Th 4:25PM-5:40PM, Biddle 069

This course is for graduate students and will focus on analysis of instrumentation in contemporary orchestra and chamber ensemble repertory. We will establish a point of reference through the study of selected eighteenth- and nineteenth-century orchestral works before moving on to works by Brahms, Mahler, Stravinsky, Debussy, Ligeti, Andriessen, Adams, Lutoslawski, Torke, and others. Topics include comparison of orchestration in Mozart, Haydn, and Beethoven; Brahms and Mahler; Stravinsky and Debussy, including a comparison of the original and revised versions of Stravinsky's ballets; a study of orchestral transcriptions of piano music; and instrumentation in recent compositions. We will consider modernist notions of structural orchestration, the unity of composition and orchestration, and the role of timbre as an independent musical entity subject to transformation and development. In addition, students will prepare orchestration assignments to be read by the Duke Wind Symphony and the Duke Symphony Orchestra. Visiting instrumentalists will discuss idiomatic writing on their instruments as well as read short orchestration or composition projects by students in class.

Spring 2008

MUSIC 213 Proportion and Tonality
Allen Anderson (UNC-Chapel Hill). F 1:15 PM-3:45 PM, Biddle 069

Music 213 will be concerned with two topics: duration and proportion as a compositional variable and recent tonal music. First we will consider the role of proportion as a form generating and organizational element in the small and the large, and explore some possibilities for rhythmic development and texture derivation. Then we will study several recent tonal scores, observing technique and practice. With both topics I will present several works of my own along with examples from other composers, including Reich, Stockhausen, Martino, Lieberson, Ligeti. Students will undertake short composition projects for each segment, which will be performed at the end of class by visiting musicians. The seminar is also open to students in music history, who may contribute analysis papers or short compositions.

MUSIC 223: Music During the Lifetime of Josquin Desprez
Thomas Brothers. M 4:25 PM-6:55 PM, Biddle 069

Josquin Desprez, the leading figure in the musical renaissance ca. 1500, has been dramtically re-envisioned in recent research, thanks to archival discoveries that revise the chronology of his life. This work opens up many opportunities for research on music during the great last decades of the fifteenth century. We will begin the semester by reading a recent dissertation on Josquin's decade in Rome, at the Papal Chapel. From there we go in various directions, with study of manuscripts, musical analysis, and stylistic trends.

MUSIC 227 Music 20th Century Topics: German Orchesterlied Song
Bryan Gilliam. Th 4:25 PM-6:55 PM, Biddle 069

This seminar explores the genre of the Orchesterlied, or, as some composers preferred to call it, Orchestergesang, to distinguish it from the Lied tradition of the 19th-century. A major focus of the seminar will be the hybrid nature of this genre, which transformed sharply from that earlier Lied tradition. Earlier (in the hands of Schubert, the Schumanns, the Mendelssohns, and others), this form was strictly for voice(s) and piano, setting the works of German-Romantic poets such as Goethe, Heine, and Eichendorff. By the early 20th century, in such a work as Mahler's Das Lied von der Erde, based not on German poetry but loosely translated Chinese poems, generic lines are significantly blurred. Mahler offers the subtitle "Symphony for Tenor, Alto (or Baritone), and Orchestra," though there are elements of recitative and aria as well. We shall examine a number of works in this unique genre, music by Strauss, Zemlinsky, Schreker, Schoenberg, Berg, Webern, among others.

MUSIC 317: Post-War Musical Nationalisms-Europe and the US, 1945-75 Philip Rupprecht. Tu 4:25 PM-6:55 PM, Biddle 069

The seminar will examine art-music in France, German, Great Britain, and the US in the aftermath of World War II, with specific attention to music's ability to serve as an emblem of nation. We will examine music by composers of avant-garde or modernist outlook, including 1950s and 60s scores by Boulez, Stockhausen, Henze, Nono, Berio, Cage, Carter, Davies, Birtwistle, Ligeti, Lutoslawski. Further, we will consider the ideological reception of more senior figures -- Stravinsky, Bartok, Schoenberg, Copland, Ives -- during the same period; and the role of specific institutions such as radio stations and newspaper reportage in the construction of (inter)nationalist rhetoric during the emerging Cold War. Final research projects will focus on analytic close-readings of a particular work, or on documents of a reception history. Readings will include recent musicological studies of the period (e.g., by Beal, Carroll, Crist, Drott, Heile, Hubbs, Shreffler, Taruskin); theoretical texts on stereotypy, hybridity (Bhabha, Hall); and writings on diaspora, collage, and intertextuality.

MUSIC 382S: Studies in Ethnomusicology--'Thinking in Mbira'
Paul Berliner and Zimbabwean mbira master Cosmas Magaya. W 4:25 PM-6:55 PM, Biddle 069

The objective of this course is to enable students to develop a comprehensive understanding of one of the large mbiras performed professionally in Zimbabwe, the 22-key mbira dzavadzimu. Readings will explore the instrument's history, its repertory and associated performance practices, its deep religious role in Shona society. Ethnographic films/videos made in Zimbabwe will amplify themes raised by readings. Beyond the course's focus on the mbira, it is concerned with exposing students to ethnomusicological research methods, interdisciplinary approaches to musical understanding, and collaborative research.

Fall 2007

MUSIC 201: INTRODUCTION TO MUSICOLOGY
Brenda Neece. Th 4:25-6:55PM

Methods of research on music and its history, including studies of musical and literary sources, iconography, performance practice, ethnomusicology, and historical analysis, with special attention to the interrelationships of these approaches.

MUSIC 222: NOTATION OF WESTERN MUSIC, c. 800-1600
Kerry McCarthy. W 4:25-6:55PM

This seminar will explore the development of Western musical notation from its experimental beginnings in the early Middle Ages through the 16th-century notational system on which our own is based. We will study, transcribe, and/or edit a number of original works in facsimile. These will be drawn from various sources, including medieval chant books, courtly manuscripts, theoretical treatises, and Renaissance prints.

Rather than following a strict historical sequence, we will begin with the notation of single melodic lines, turn directly to the straightforward polyphonic notation of the high Renaissance, and continue in a retrospective manner, learning more complex techniques along the way.

We will also address some general questions:
• Was early notation mnemonic, prescriptive, or some mixture of the two?
• How did early notators deal with rhythmically complex works in what were often restrictive notational systems?
• What is the task of the modern-day editor of “early music”?

In addition to the weekly series of readings and transcriptions, you will be preparing a final project (oral and written) on a notational, theoretical, or editorial topic of interest to you.

MUSIC 224: Music in the Baroque Era
MUSIC IN EIGHTEENTH-CENTURY FRANCE
Jacqueline Waeber. T 4:25-6:55PM

The musical 18th century primarily celebrates the supremacy of Austro-German and Italian music. In such a landscape, French music, from late 17th century to the eve of 1789, occupies a peculiar, if not marginal(ized) position. Yet no other country than France offered such a challenging ground for aesthetical debates on music; and today, our conception of music as an art of expression is still heavily indebted to the French Enlightenment thought.

A close examination of primary sources (texts and musical scores) will help us to understand what was at stake behind the 18th-century topos of the primacy of vocal expressivity, notably by giving special attention to the debates on music and the origins of language, and to the ambivalent French surrender to opera seria. Also, we will determine how such debates did shape the works of composers like Lully, Couperin, Rameau, Gluck, among others.

NB. Since a few readings will be in French, an informal reading group will be offered weekly for students who wish to deepen their language skills while further engaging with the relevant literature.

A recommended reading for the whole seminar is Downing A. Thomas, Music and the Origins of Language. Theories from the French Enlightenment (Cambridge: Cambridge University Press, 1995).

MUSIC 295S: MUSICAL COMPOSITION, BORROWING, & THE LAW [FROM MAHLER TO MASH-UPS]
Anthony Kelley (Duke Music Department), Jennifer Jenkins and James Boyle (Duke Law School). M 4:25-6:55PM

Was Ray Charles a musical plagiarist, a copyright infringer, neither, or both? In 1968, when Luciano Berio liberally quoted a Mahler symphonic movement (among others) in Sinfonia, were his creative impulses justifiable in legal and ethical terms of the day? What makes something "sound like reggae," and can its component parts be copyrighted? Is all musical or pre-existing audio sampling illegal?

How have common modes of compositional practice (including borrowing, sampling, and stylistic emulation) tested and shaped law? Conversely, what impact does law have upon creative compositional genres that depend on borrowing and derivation?

These questions and others like them will be the subject of the a new seminar this Fall. Called "Musical Composition, Borrowing and the Law: From Mahler to Mashups," the class will be cross listed in the music and law departments and taught jointly by faculty from each school. The seminar is open to law students as well as composers and musicologists. Composers will find many opportunities to investigate matters of professional importance that could be applied both to their own creative processes and to the distribution and/or protection of their own compositions. A broad range of repertoire will be explored, emphasizing post-19th Century works that demonstrate aspects of musical borrowing (including Ives, Stravinsky, Ellington, And Torke, among others). No prior knowledge of the law is needed for music students, and no prior musical knowledge is necessary for the law students, but both sides will prove to be informative to each other as the term progresses. During the class, students will sometimes work in teams using both types of expertise; for example, the music students will compose and/or analyze musical works to highlight or identify musical similarities and their provenance, and the law students will apply the rules we have discussed to form expert witness opinions. Composers will write new musical compositions, derived from previous samples, styles, and models, based on works studied. Musicologists will produce engaging papers investigating parameters of musical borrowing explored during the seminar. (For Law students, the class requirements will include short postings on the class webboard, in-class assignments and a final paper or joint music- law project on music copyright.)

Spring 2007

MUSIC 213: The Art of Combining Sounds
Stephen Jaffe. Th 3:05-5:35 PM, 069 Biddle.

As formal study within tonal practice, counterpoint embraces various styles of multi-voiced music. Indeed, from Renaissance masters to the Adagio for Strings, the practice of sophisticated counterpoint is often seen as the height of the composer's art. What does counterpoint mean in the context of recent
music? Is it still the summit of the composer's art? Or a didactic relic of theoretical training no longer viable for practicing composers? Within mid-twentieth century practice Bartók, Berg, Messiaen, Shostakovich and Hindemith exemplified a tendency to refashion counterpoint; the contrapuntal forms of Ligeti, Carter, Reich, Birtwistle, and Andreissen demonstrate that in the digital age counterpoint has continued to stimulate composers' imaginations. If there is something basic to composition about counterpoint, what is it, and does it need to be re-invented?
Through composition of short pieces and analysis, we will consider historical contrapuntal forms such as canon and double canon, invertible counterpoint, and forms based on the chorale, but also newer ones: isorhythm, retrogression, algorithmic composition, aleatoric counterpoint, and harmony as a subject of counterpoint. In so doing, we hope to provide a basis for continued independent work in imaginative composition or analytical discussion of new music. As you embark on careers as composers, teachers, scholars, and performers, the aim of the course is to allow you to improve your hearing of independent lines and sounds; investigate whether or not counterpoint continues to be relevant as the basis for creative work in composition; arrive at a progressive critique of traditional and recent contrapuntal practice. We'll also be doing some persistent work in rhythmic and ear training by means of weekly exercises.

MUSIC 217S: Introduction to Post-Tonal Analysis and Theory
Philip Rupprecht. M 4:40-7:10 PM, 069 Biddle.

An introduction to the analysis and theory of post-tonal twentieth- and twenty-first-century music. We will explore standard concepts essential to the analysis of music in a range of post-tonal idioms: intervals, pitch-class sets, transposition and inversion relations, pitch symmetry, centricity, twelve-tone operations, rhythmic and textural innovations. Music by Bartók, Boulez, Carter, Maxwell Davies, León, Schoenberg, Stockhausen, Stravinsky, Webern, and others. Selected readings from the analytic-theoretic literature. Short papers, in-class presentation, final analysis paper. Textbook: Joseph N. Straus, Introduction to Post-Tonal Theory, 3rd edition.

MUSIC 224: Music in the Baroque Era
J. S. Bach: Mass in B Minor
Kerry McCarthy. Tu 3:05-5:35 PM, 069 Biddle.

This seminar will introduce various aspects of research in Baroque music
through a study of Bach's Mass in B minor (BWV 232). Topics will include
genre, counterpoint, text-setting and contrafacture, "stile antico" vs.
"stile moderno," compilation, reception history, its status as an iconic
work in the early-music movement of the 19th and 20th centuries, and
current debates about performance practice. No specialist knowledge is
required, just musical curiosity and a willingness to engage with new
material. A small number of readings will be in German. An informal
reading group will be offered weekly for students who wish to deepen their
language skills while further engaging with the relevant literature.
Students registering for the course should buy a vocal score of the Mass
(Bärenreiter is recommended) and a recording of their choice.

MUSIC 328S: Studies in Ethnomusicology
African Music: Mbira of the Ancestors
Paul Berliner. W 4:40-7:10 PM, 102 Biddle.

The objective of this course is to enable students to develop a comprehensive understanding of one of the large mbiras played professionally in Zimbabwe, the 22-key mbira dzavadzimu. Readings from the works of ethnomusicologists, anthropologists and novelists will introduce students to the instrument's history, its repertory and associated performance practices, its deep religious role in Shona society. Ethnographic films and videos made in Zimbabwe will amplify themes raised by readings. Class periods are devoted to discussing reading assignments, analyzing musical examples, and learning to perform four compositions for the mbira dzavadzimu. The course emphasizes 'traditional' African oral teaching methods which require students to grasp musical ideas aurally as they are performed by experts, rather than reading music notation. At the same time, students will devise their own notation systems over the quarter and explore the challenges of transcribing mbira pieces for the purposes of analysis. Grades based on discussions of course readings, an analytical paper about the mbira repertory and its place in Shona culture, and performance examinations.

Fall 2006

MUSIC 201: Introduction to Musicology
Hana Vlhova-Woerner. Th 2:50 PM-5:20

MUSIC 225: Topics in the Classic Era
The Symphonies of Haydn
Larry Todd.

An examination of the symphonies of Joseph Haydn, composed between 1759 and 1795. Topics to include, but not necessarily limited to, questions of orchestration, Haydn's relationship to the Sturm und Drang, the development of a "classical" symphonic syntax, programmatic vs. absolute music, the treatment of sonata form, Haydn's audiences, critical reaction, and Haydn's influence. Intensive listening to selected symphonies, research paper, and classroom presentations.

MUSIC 227: Music in the Twentieth Century
Topic: Jazz
Tom Brothers, M 4:25 PM-6:55 PM

Our main focus this semester will be four recent books on jazz history. These will be read and discussed during the first eight weeks of the semester. The books have been chosen to provide extended chronological coverage as well as diversity of scholarly method. In conjunction with reading these books we will listen to a lot of repertory, as keyed to the readings. These books will be placed on reserve for our course, and they will be available for purchase in the bookstore:

Louis Armstrong's New Orleans, by Thomas Brothers
Swingin' the Dream: Big Band Jazz and the Rebirth of American Culture by Lewis Erenberg
The Birth of Bebop by Scott DeVeaux
Is Jazz Dead? (Or Has It Moved to a New Address) by Stuart Nicholson

MUSIC 295: Computer Music Composition
Scott Lindroth, Tu 2:50 PM-5:30 PM (Smith WRHS 228)

An intensive composition course using software tools for synthesis, signal processing, and mixing. In addition to learning how to use the tools, you will study the history and aesthetics of electroacoustic music and become familiar with the repertory. Projects include weekly studio assignments (completed in the Arts Warehouse) as well as composition projects. There may be an opportunity to work with video/animation prepared by visual artists enrolled in VisArt courses.
Since the software tools can be challenging to learn, I will have a meeting with students interested in this course later this semseter to discuss organization and goals.

MUSIC 317S: The History of the Harpsichord
Bob Parkins, W 2:50 PM-5:20 PM (Biddle 086)

A historical study of the harpsichord from its origins c. 1400 to its fall from favor in the late 18th century and its resurrection as part of the 20th-century early music movement. Discussions and presentations will include the various national schools of harpsichord building (and relevant repertoire), related stringed keyboard instruments (e.g., clavichord and fortepiano), and the role of the harpsichord in social history as well as music history. The hands-on focal point of this seminar will involve collaborative construction of a double-manual French harpsichord.

Spring 2006

MUSIC 223: Polyphonic Music in the 15th Century
Tom Brothers, M 3:05 pm - 5:55 pm

We will review recent research concerning 15th c polyphony, along with lots of repertory, beginning with the early century isorhythmic motets of Guillaume Du Fay, cantilena motets by Dunstaple, his English contemporaries and their French imitators, chansons from early, middle and late in the century, cantus-firmus mass cycles by Okeghem, Busnoys, Josquin and others, and various kinds of motets. Grades will be based on weekly presentations and a term paper.

MUSIC 227: Strauss and Mahler: Tone Poem, Symphony, Symphonic Song
Bryan Gilliam, Th 2:50pm - 5:20 pm

This seminar focuses mostly on the first decades of the "long 20th century," through the lenses of Richard Strauss and Gustav Mahler, two composers who had, on the surface, much in common: both were great conductors who reinvigorated Mozart and Wagner reception in the early 20th century, both were supreme orchestrators, and both rejuvenated symphonic music and song, giving these genres new meanings (often at the expense of structural paradigms) in a new century. Indeed, both turned to the hybrid notion of symphonic song at the end of their lives: Mahler's Das Lied von der Erde of 1908 and Strauss's so-called Four Last Songs four decades later. It could also be added that both composers operated in the orbit of Wagner, Schopenhauer, and Nietzsche, but this very notion points to some profound differences as it relates to music and metaphysics in an emerging new century. Mahler was fond of characterizing their relationship as "two miners digging from opposite sides," suggesting that both were in search of the noumenal, the metaphysical "thing in itself." But Strauss had no interest in post-Wagnerian notions of redemption, transcendence, and the like and was disappointed that a composer of Mahler's stature would seek refuge in such notions. The seminar will probe these differences and similarities using various approaches: the analytical, the aesthetical-philosophical, and historical reception, notably that of Adorno and others.

MUSIC 213: Theories and Notation of Contemporary Music – The Composer as Collaborator: Working With Text
Stephen Jaffe, Tu 2:50 pm - 5:20 pm

The musician's future career involves working with others: instrumentalists, dancers, writers, theater companies, media and film artists, and presenters. In fact, the more creative a composer can be in conceiving projects with others, the more vital and successful his/her career is likely to be. Yet collaboration is not just a narrow career strategy. It's also a way of opening up a creative person's language to unforeseen possibilities.

Using text as our focus for the semester's study, members of the seminar will be invited 1. to create new work and 2. to develop breadth of expertise in text/music relations. The seminar will involve composing music; developing texts for new works and potential collaboration; critiques; and listening. (The latter will provide background in the literature.) Our discussions and experiences will be enriched by visits from artists in music and other fields who are engaged in collaborative work.

Some prospective examples of the types of exercises intended to start the conversation will be:

- What will different members of the seminar create given the same, small text?
- How do the most creative composers working today use text to cross boundaries between music and the other arts (examples: Martin Bresnick, Three Poems of Yehuda Amichai; James MacMillan, Cantos Sagrados; Scott Lindroth and Anya Belkina, Nasuh)? Do these collaborations enhance the public face of a composer's work?
- What is involved in the taking of a historical document (T.J. Anderson, Slavery Documents), or novel (Henry James, The Turn of the Screw) and turning it into a staged work (Britten, The Turn of the Screw)?
- Who currently is engaged in interesting projects using text, and what are the ramifications for the musician's future? How are visual artists, such as Jenny Holzer, using text in non-traditional ways?

The goal of the seminar will be insight. We hope, too, that the experience will lead to some interesting collaboration.

Fall 2005

MUSIC 317: William Byrd
Kerry McCarthy, W 4:25-6:55 pm

William Byrd (c. 1540 - 1623) wrote extensively in all the genres of his day: vocal chamber music both sacred and secular, keyboard music, music for instrumental ensembles, liturgical music in Latin and in the vernacular, commissioned pieces for state occasions, and a number of works which defy all later attempts to categorize them. His career was over fifty years long and played itself out at the stylistic and cultural crossroads of the era. He was born into what was essentially a late-medieval compositional tradition, and by his last works he was anticipating the Baroque. In this seminar we will study Byrd's music in detail, using a spectrum of analytical techniques, and place it in its various contexts. No specialized experience in early music is required: the only prerequisite is musical curiosity and willingness to engage with new repertoires.

NB: Duke will be hosting an international Byrd conference in November 2005. Students in the seminar will be encouraged to take part in the conference and discuss their work with visiting specialists.

MUSIC 226: 19th-century Piano Music
R. Larry Todd, TH 3:05-5:35 pm

19th-century Piano Music will examine representative works by Beethoven, Schubert, Weber, Chopin, the Mendelssohns and Schumanns, Liszt, and Brahms, and others, from a variety of perspectives, including stylistic/analytical, genre, performance practice, virtuosity, improvisation, and compositional process.

MUSIC 295: Composition Seminar
Scott Lindroth, M 4:25-6:55 pm

Study of orchestration for large ensembles; analysis of the instrumentation strategies in works by Mahler, Debussy, Stravinsky, Ravel, Henze, Berio, Ligeti, Lutoslawski, Kernis, Torke, Andriessen, and others. Guest musicians will discuss best practices for writing for particular instruments; a reading of a short orchestration assignment by the Duke Symphony Orchestra. See ACES for extended synopsis.

MUSIC 382: Studies in Ethnomusicology
Topic: Critical Issues in Ethnomusicology
Louise Meintjes, T 4:25-6:55 pm

What are the various possibilities for a music scholarship that is both sonically grounded and politically engaged? To consider this question, the seminar looks at how ethnomusicologists have treated concepts drawn from musicology and anthropology. On the one hand, stimulated by musicology, the field has debated such concepts as genre, repertoire, music history, the musical work, music analysis, representation/print, performance, canon formation, musical expression, and musical value. On the other it has integrated into music scholarship concerns with formations of power, symbol, identity, and cultural production as inflected by cultural anthropology.

Designed as an introduction to critical thinking about music, the course also reviews the relationship of ethnomusicology as a discipline to its various congeners -- folk music, ethnic music, world music, traditional music -- and to its most closely allied humanities and social science disciplines: historical musicology, folklore, cultural anthropology, linguistics, and cultural studies.

Spring 2005

MUS 371S: Seminar in the History of Music
Topic: The Notation of Western Music, c. 800-1600
Kerry McCarthy, 317S Mon 3:05-5:35

This seminar will trace the development of Western musical notation from its experimental beginnings in the early Middle Ages to the 16th-century notational system on which our own is based. We will study, transcribe, and/or edit a number of original works in facsimile. These will be drawn from various sources, including medieval chant books, courtly manuscripts, theoretical treatises, and Renaissance prints.

We will also address some more general questions:
* Was early notation mnemonic, prescriptive, or some mixture of the two?
* How did early notators deal with rhythmically complex works in what were often restrictive notational systems?
* What is the task of the modern-day editor of "early music"?

MUS 213: Theories and notation of contemporary music
Topic: 'Round Monk and Musical Modernism: Musical Time and Notation During the Compositional Life of Thelonious Monk
Anthony Kelley, Tues 3:05-5:35

One of the focal figures of the mid-20th-Century musical practice known as "bebop," Thelonious Monk as a composer/performer transcended his plight as a figure marginalized by societal norms and prejudice by holding to a particular vision of the artistic elasticity of harmony, melody, rhythm, and time.

What forces were in play that contributed to the unique sense of time and musical space in the music of Thelonious Monk, and how do those factors influence his contemporaries, like Cage, Varese, Gillespie, Messiaen, Crumb, Lutoslawski, Parker, Berio, Bernstein, or Foss? What are the lasting influences from Monk's output or the "bebop" period, and what are their continued, living musical manifestations?

To help answer such questions in this course, students will concentrate on the compositions of Thelonious Monk as a basis for understanding a certain mode of musical expression during the mid-20th century. The works studied will serve as a platform for understanding similar issues addressed in the music of Monk's chronological contemporaries. Through investigation of documents like recordings, scores, and performance video of Monk--as well as writings by and about musicians from the 1940's-60's--students will gain a deeper perspective of the meaning and impact of the broader musical scene for Monk's activity.

Students will be expected to write a substantial analytical paper tying the general topics to a particular work. Students will also explore composition and/or improvisation based on material and methods found through deep investigation of the compositions of Monk and his contemporaries.

MUS 227: Music in the Twentieth Century
Topic: Jazz
Tom Brothers, Wed 3:05-5:35

The course covers various areas and topics within jazz history, from the beginnings in New Orleans through recent developments. The entire class will work together on New Orleans ca. 1885-1920. Class members will each have responsibility for one additional area, working individually with a recent monograph and exploring research topics that might emerge from it. These monographs include The Birth of Bebop, Chicago Jazz, Swinging the Dream: Big Band Jazz and the Rebirth of American Culture, Swing Shift: All Girl Bands in the 1940s, Thinking in Jazz, Jazz Cultures, and The Jazz Scene.

MUS 382S: Studies in Ethnomusicology
Topic: Performance
Louise Meintjes, Thursday 3:05-5:35

Performance … performativity? Performing the nation, performing the self, performing artworks, performance practice, staging, face, mediation, interpretation, communication. The seminar brings together social theory about performance and approaches to performance that emerge out of the performing arts. I am motivated to teach this topic by the challenge to keep on the same page the formal details of genres, individualized performative artistry, and social/political process.

Your task, and the seminar’s goal, will be to situate contemporary monographs about performance in relation to the theoretical history of the study of performance from the 1970s to the present, and to positively critique their achievements. The first part of the semester will focus on accruing the chops for that critique by reading scholars such as Goffman, Turner, Hymes, Shechner, Bauman, Hebdige, and Taruskin followed by Butler, Roach, Abbate, Dunsby and others.

You will also do an analysis (from your chosen perspective) of an aspect of a live performance.

New monographs might include:
Real Country: Music and Language in Working-Class CultureAaron Fox (Duke U P, 2004);
Listening for a Life: A Dialogic Ethnography of Bessie Eldreth through Her Songs and Stories Patricia Sawin (Utah State U P, 2004);
Beyond Lines of Control: Performance and Politics on the Disputed Borders of Ladakh, India Ravina Aggarwal (Duke U P, 2004);
Putting a Song on Top of It: Expression and Identity on the San Carlos Apache Reservation David Samuels (U Arizona P, 2004);
Musical Works and Performances: A Philosophical Exploration Stephen Davies (Oxford UP, 2004).
Performing marginality: humor, gender, and cultural critique Joanne R. Gilbert. (Wayne State U P, 2004);
Performing opposition: modern theater and the scandalized audience Neil Blackadder (Praeger, 2003).

MUS 359S: Introduction to Audition, or Why We Hear What We Do
Dale Purves (Neurobiology)
Crosslisted with neurobiology and psychology
Time: see ACES

The purpose of this course is to consider broadly audition in relation to the end product of the auditory system, namely the sounds we hear for a variety of purposes ranging from navigation in the auditory environment to communication and music. The course will consider these functions primarily in humans, but will also deal with their analogues, homologues, and precedents in a range of other animals. An additional theme will be a comparison of the operating principles of the auditory system with what is presently known about vision.

Fall 2004

SELECTED TOPICS IN ANALYSIS (MUS 217)
Topic: Analyzing Popular and Experimental Music
marc faris. Monday 2:50-5:20

Course Description
This seminar introduces issues in recent scholarship on popular and experimental music. These fields of practice have become accepted sites of academic research and analysis, but arguments about methodology and practice are ongoing. We will examine writings and case studies from a wide range of critical viewpoints, including Schenkerian analysis, historiography, ethnomusicology, cultural studies and anthropology, gender and race theories, semiotics, audio theory, and others. Much attention will be devoted to the so-called “text vs. context” methodological debate, and we will aim toward synthesizing and developing our own hybrid approaches for different repertoires, including mainstream and underground rock; jazz and other improvised styles; minimalism, Fluxus, and other experimental music; and more. In the process, we will grapple with issues central to the philosophy of music analysis (the relationship between theory and experience; music as autonomous art form vs. socially embedded phenomenon; the “analyzable canon”; etc.).

Work and Assignments
Extensive reading and immersive listening will form the basis of our seminar, and students will take turns leading discussion. Transcription, analysis, and field exercises will offer opportunities to put theoretical models into practice. A final presentation and paper encourages extended engagement with a repertoire and analytical approach(es) of each student’s choosing.

MUSIC IN THE 19th CENTURY. (MUS 226)
R. Larry Todd. Monday 2:50-5:20pm

The course will be centered on the life and music of Fanny Hensel (1805-1847) as we approach her bicentenary, her contemporaries (her brother but also Clara Schumann, Charles Gounod and others), the relationship between her compositions and her recently published diaries, the extraordinary musical salon that she led in Berlin during the 1830s and 1840s, and the problem of locating and evaluating her music in the space between the public world of the Mendelssohn name and the private world of Berlin society.

DOTS AND LINES: THE ART OF COUNTERPOINT IN RECENT MUSIC (MUS 295S – Seminar in Composition)
Steven Jaffe. Tuesday 2:50-5:20pm

As formal study within tonal practice, counterpoint embraces various styles of multi-voiced music. From Renaissance masters to the Adagio for Strings, the practice of sophisticated counterpoint is often seen as the height of the composer's art. What does counterpoint mean in the context of recent music? In post-modern tonality? Is it still the summit of the composer’s art? Or a didactic relic of theoretical training no longer viable for practicing composers?

In recent years, the contrapuntal forms of Nancarrow, Birtwistle, Ligeti and Andreissen have demonstrated that counterpoint has continued to stimulate composers' imaginations in the digital age. Their works continue a tradition among concert composers starting with Bartók, Berg, Shostakovich, Messiaen, Hindemith and the American “ultras,” among many others, who in exemplified a tendency to refashion counterpoint within mid-twentieth century practice. If there is something basic to composition about counterpoint, what is it, and does it need to be re-invented?

Through composition of short pieces and analysis, we will consider traditional contrapuntal forms such as canon and double canon, invertible counterpoint, and forms based on the chorale, but also newer ones: isorhythm, retrogression, algorithmic composition, aleatoric counterpoint, and harmony as a subject of counterpoint. In so doing, we hope to provide a basis for continued work in imaginative composition or analytical discussion of new music.

Prior to the beginning of the semester, students enrolling in the class are urged to review a basic text in tonal counterpoint (i.e. Salzer/Schachter, Kennan, etc.) so as to be able to demonstrate proficiency in tonal or modal species counterpoint. Open to graduate composers and students in music history, and to advanced undergraduates with permission of the instructor.

SEMINAR IN THE HISTORY OF MUSIC (MUS 317S)
Bryan Gilliam. Wednesday 2:50-5:20pm

Essentially this is an introductory course in critical thinking in musicology. Incoming musicology students will be required to take this instead of MUS 201S.

Fall 2003

Kerry McCarthy: Music 224 (Music in the Baroque)
BACH'S PASSIONS: NARRATIVE, GENRE, RECEPTION

This course will introduce various aspects of research in Baroque music through multiple approaches to the St. John and St. Matthew Passions of J.S. Bach. We will combine musical analysis and source studies with an exploration of recent scholarship on the Passions. We will also trace the reception history of these works, along with the attendant trends and controversies in performance practice. Some readings will be in German; an informal reading group will be offered weekly for students who wish to deepen their language skills while further engaging with the relevant literature. In-class presentations, final research project.

Catherine Saucier: Music 223 (Music in the Renaissance)
POLYPHONY FROM VITRY TO JOSQUIN

This course aims to familiarize students with recent research on polyphony by composers from France and the Low Countries spanning the period from Philippe de Vitry to Josquin Desprez. The fourteenth and fifteenth centuries witnessed the dissemination of polyphonic mass settings, motets, and chansons, particularly by composers from Northern Europe who attained international renown. Our goals will be twofold: to examine select polyphonic works by Vitry, Machaut, Ciconia, Binchois, Du Fay, Busnoys, and Josquin in the context of topics addressed in the current scholarship, and to gain insight into the cultural contexts in which polyphony flourished during this politically turbulent period through case studies of manuscript and archival sources. Student projects will include a brief written report on a manuscript or archival study, a repertory assignment, and a review of a recent dissertation.

Lex Silbiger: Mus 215
MUSIC ANALYSIS

The concepts of Schenkerian analysis and its derivatives have become part of the academic discourse about tonal music and the prospective member of the discipline cannot afford to ignore them. At the same time, the underlying assumption of the work of music as an autonomous object, unified by hierarchical levels of structure, is increasingly being problematized; that too, one cannot afford to ignore.

This course provides a basic introduction to Schenkerian analysis, and, at the same time, a critique of its methods. We will ask: What aspects of music are being prioritized by the analysis and why? What happens when the concepts and techniques are applied to music outside the common-practice repertory (e.g., early music, 20th-century music)? We will use a popular and highly praised text (Allen Cadwallader and David Gagné, Analysis of Tonal Music: A Schenkerian Approach), both to help us understand the method and as object for critical scrutiny, and we will apply its directives well beyond the narrow 1700-1900 European repertory it considers. The text will be supplemented by a series of readings, mostly chosen from a recent collection of essays, Rethinking Music, edited by Nicholas Cook and Mark Everist. Participants will be asked to prepare a number of analysis projects; some of these are to be presented to the class, with attention not only on content but also to manner of presentation. In addition they will be expected to provide thoughtful responses to the readings.

Required: Allen Cadwallader and David Gagné, Analysis of Tonal Music: A Schenkerian Approach. Oxford University Press 1998, ISBN 0-19-510232-0 (available from the Regulator Bookshop on 9th Street)

Strongly recommended: Nicholas Cook and Mark Everist, eds. Rethinking Music. Oxford University Press 1999, ISBN 0-19-879004-X (paperback)

John Druesedow: Mus 201
INTRODUCTION TO MUSICOLOGY

Scott Lindroth: Mus 295
COMPOSITION SEMINAR

This seminar will focus on computer music composition and sound design. Students will work with Csound, a versatile software synthesis programming language. Csound is entirely text-based,ie the composer writes code, not notes. It has been used for synthesis, digital signal processing. Given this versatility, working with Csound tends to call into question the distinctions we tend to make between music and the sounds we encounter in everyday life.

To help get our bearings in this novel musical landscape, we will be listening to and studying important computer music compositions which will form the basis of assigned presentations by individual students. Repertory includes works by Stockhausen, Henry, Ferrari, Risset, Dodge, Lansky, Chowning, Xenakis, Harvey, Smalley, Wishart, Barrett, Dashow, Koonce, and others. There will also be readings on the aesthetics and techniques of computer music. It is my hope that these materials will provide students with a philosophical and technical foundation on which they will be able to construct their own compositions.

This course is geared towards musicians and musical applications of technology. The first part of the seminar will be an intense period of learning the software so that the latter part of the semester can be devoted to composition.

Spring 2002

Music Analysis (MUS 215) Moreno

Introduction to the analysis of tonal music. Topics include: counterpoint in voice leading, harmonic prolongation, rhythm and meter, motive. Repertoire includes "common-practice" music, American popular song, jazz, pop, and rock. Attention will be given to the interaction between formalist analysis and other approaches (e.g., hermenutics, narrative).

Live Performance and Electronic Music (MUS 296S) Lindroth

Much contemporary music makes use of electronic or sampled sound as a matter of routine. This can include the use of synthesizers in the pit orchestra of a Broadway musical, the use of sampling in popular music; the combination of classical music and rock styles (with their characteristic use of electronic sound) practiced by Michael Gordon, Scott Johnson, John Fitz-Rogers, Paul Dresher, and others; the experiments of composers working in an acousmatic style; or even the inclusion of a synthesizer keyboard in a chamber music composition. As electronic sound and sampling becomes more and more a part of our musical landscape, electronic music is beginning to lose its identity as a distinct genre practiced and listened to by specialists. Now that the technology is sufficiently flexible to accommodate a wide range of musical approaches, composers are more easily able to expand their compositional palette with synthesized or sampled instruments. The goal of this course is to compose music combining live performers with electronic sound, including both synthesized timbres and samples. Along the way you will learn a about MIDI sequencing, FM synthesis, sampling and signal processing, and digital audio mixing. In addition to learning the skills involved in preparing your compositions, we will study a number of recent compositions composers and performers who combine live instrumental performance with electronic media.

Mode and Tonality in the Music of the Renaissance (MUS 317S.02) Haar

This course will concern itself with a study of modal theory in plainchant and its application to polyphony, ca. 1450-1600. Readings of Renaissance theorists (chiefly Tinctoris, Gafori, Aaron, Glarean and Zarlino) and of 20th-century scholars (including Bernhard Meier and Harold Powers) will be accompanied by study of sacred and secular polyphony of the period. Modal theory is chiefly concerned with individual melodic lines. Tonality, as defined in this seminar, refers to polyphonic structures as wholes. We will look at cadential structure and planning, at harmonic language, and at tonal planning, among other things. We will address questions of the audibility and expressive character of mode in polyphony, of secondary importance to early theorists but of prime interest to modern students of Renaissance music. Assigned reading and analytical study, class reports and discussions, final paper.

Music and the Discourse of Authenticity (MUS 382S) Isenhour

This course critically examines authenticity as a social and historical construct in the appraisal of music. Rather than looking at the validity of the concept of authenticity, we will attempt to deconstruct its use and understand the aesthetic, social and political framework from within which authenticity emerges as a valid musical criticism. Questions to be examined are: why and to whom is authenticity important? how does it function on a semantic level? what is the relationship between the quest for authenticity and social and political positioning and power? The first half of the course is devoted to theoretical readings about the concept of authenticity within the realms of aesthetics, sociology, cultural anthropology and musicology. In the second half, we will examine case studies in which authenticity is an issue, including the Early Music Movement, folk music revivals, country music and contemporary composition. Students will carry out individual research and present their findings at the end of the semester.

FALL 2001

Introduction to Musicology (MUS 201) Druesedow

The course is intended as a foundation for any type of research in music, whether it be historical, sociological, or analytical. It presents information metaphorically as the intersection of three dimensions of musical thought and discovery: TIME (history and chronology, biography), SPACE (culture and ethnic studies, geography), PERCEPTION (analysis and criticism, philosophy and aesthetics). The course provides an overview of each of these dimensions and covers the basic tools of research. It recognizes the more or less traditional boundaries of these dimensions while encouraging an interdisciplinary approach to study and research. Teacher-student interactions range from colloquium-type teams sessions to seminars with the coordinator and further to tutorials, also with the coordinator.

Music in the Middle Ages (MUS 222) Brothers

Our topic is Machaut's songs, and especially the accidentals signed in those songs. We will cover the use of accidentals in trouvère songs first, as a way to consider the chanson before Machaut. We will also look at motets, at recent research on Roman de Fauvel, and at a couple of recent dissertations on Machaut. There will be two (or so) short papers, then the entire class will work on a group project for the term paper. The class goal will be to publish a co-authored article in an on-line journal. The topic of that article will be the unstable transmission of accidentals in Machaut's music. We want to put ourselves in a position, through intensive study of variants, to comment on the enduring problem of musica ficta, studied from the point of view of transmission. Machaut's songs offer an excellent repertory through which to study this problem, since there are so many good sources and since those sources have been studied intensively.

The Instrumental Solo Tradition in the Seventeenth Century (MUS 224) Silbiger

The instrumental solo tradition has had a long history in Western music, even if now it seems to have fallen upon hard times. One of its great periods was surely the seventeenth century, when lutenists, keyboard players, violinists, and gambists used their solos to express their boldest fantasies and profoundest emotions. We will explore the echoes of their art preserved in the sources, and will look into the nature and circumstances of these works, with special attention to notational and performative aspects. Depending to some extent on student interests, we will focus on specific English and Italian repertories for the earlier part of the century and on specific French, German, and Italian repertories for the later part. Student projects will include preparing editions of unpublished music.

Chamber Music of the Late Eighteenth and Early Ninteenth Centuries (MUS 226) Todd

Close readings and discussions of selected major works by Haydn, Mozart, Beethoven, Schubert, Spohr, Mendelssohn, Fanny Hensel, and Robert Schumann. Models for approaching chamber music, stylistic traditions and development, and compositional process. Listening and writing assignments.

The Stolen Moment: Appropriation of Vernacular Music in the Post-19th Century Concert Tradition (MUS 295) Kelley

This course will investigate music by Post-19th Century "Concert" Composers who draw from gestures and fragments found in folk and popular musical idioms. The focus and goal of the course is to discover patterns of appropriation and/or specific means of transformation of material in the hands of composers like Claude Debussy, Igor Stravinsky, Aaron Copland, Bela Bartok, Libby Larsen, George Walker, Michael Torke, and Coolio. Students will need a strong background in music theory and analysis. Final projects will include a substantial paper or composition on the topic, along with a portfolio of exercises in transcription and transformation of assigned folk and popular music from recorded examples.

SPRING 2001

Representation and Subjectivity in Early Modern and Modern Theories and Analyses of Music (MUS 217S) Moreno

We will study theories and analyses of music that appeared betwen 1558 and 1832. Emphasis will be placed on specific ways in which theory confronts the problem of representing musical phenomena and how constructions of subjectivity by philosophy might have intersected these representations. Two models for the interpretation of history -- the tropology of Hayden White and the archaeology of Michel Foucault -- will be used in conjunction with two models of subjectivity -- Descartes' and Kant's. The seminar is in two parts. In part 1 we will read Zarlino (Istitutioni, 1558), Descartes (Compendium, 1618), and Rameau (Traité, 1722). In part 2 we examine particular issues in analysis: (a) the interplay between affect, mimesis, and "structure" in rhetorical analyses by Burmeister (1606) and Mattheson (1739); (b) narrative and allegories of temporality in Momigny's analysis of Haydn (1806); (c) irony and Kantian subjectivity in Weber's harmonic analysis of Mozart (1832).

American Music ca. 1900 (MUS 226) Brothers

This semester, our focus is on the very special case of music in New Orleans, ca. 1900. Emphasis is on the many dimensions of African-American experience at this time and place. Special attention will be paid to social relations, as conditioned by race and class, and their impact on musical developments. We will also study the traditions of blues, ragtime, marching bands, popular songs, church music, dance music, and concert-hall music, with an eye towards how each of these contribute to the emerging tradition of jazz.

The Art of Counterpoint in Recent Music (MUS 296) Jaffe

As formal study within tonal practice, counterpoint embraces various styles of multi-voiced music. Indeed, from Renaissance masters to the Adagio for Strings, the practice of sophisticated counterpoint is often seen as the height of the composer's art. What does counterpoint mean in the context of recent music? Bartok, Berg and Hindemith exemplified a tendency to refashion counterpoint within mid-twentieth century practice; the contrapuntal forms of Berg, Messiaen, Ligeti and Andriessen demonstrate that counterpoint has continued to stimulate composers' imaginations. Through composition of short pieces and analysis, we will consider traditional contrapuntal forms such as canon and double canon, invertible counterpoint, and forms based on the chorale, but also newer ones: isorhythm, retrogression, algorithmic composition, aleatoric counterpoint, and harmony as a subject of counterpoint. In so doing, we hope to provide a basis for continued independent work in imaginative composition or analytical discussion of new music. Prior to the beginning of the spring semester, students enrolling in the class are urged to review a basic text in tonal counterpoint (i.e. Salzer/Schachter, Kennan, etc.) so as to be able to demonstrate proficiency in tonal or modal species counterpoint. Open to graduate composers and students in music history, and to advanced undergraduates with permission of the instructor.

"Miners Digging from Opposite Sides?": The Works and Worlds of Mahler and Strauss (MUS 317) Gilliam

Born just four years apart, Gustav Mahler and Richard Strauss were, without a doubt, the leading Austro-German composers of their generation. The inevitable comparisons between thes two composers began as early as the turn of the century and have continued to the present day. In this seminar we shall look at their common roots in German-Romanticism and their differing world views that began to emerge as early as the late-1880s. Moreover, we shall compare these two composers through the lens of later criticism, aesthetics, and analysis. This seminar is open to German Studies as well.

Music and Language (MUS 382S) Meintjes

As pan-human symbol systems that involve articulations of meaning through sound production and performance, language and music are uniquely related. Through the decades their relationship has intrigued scholars working within formalist, structuralist, semiotic, post-structuralist, and phenomenological paradigms, and so forth. This seminar reviews some of the ethnomusicological and linguistic/linguistic anthroplogical literature about this relationship. We will consider such issues as the musical parameters of languages (e.g. intonation, meter); music as syntax (the "grammar" of music); the constraints of language on song and of tune on text; musical reductions and elaboration of language codes ("talking" drums, whistling, vocables); music and language as referential and expressive forms; the place of performance in interpreting form and of narrative in structuring performance; the relationship of talk about music to music making; the stylization of emotion; the production of "meaning"; the politics of the voice. A range of expressive forms including song, lament, praise poetry, preaching, and story telling of various regions and styles falls within the rubric of the class. We will look for ways in which the combined and comparative study of language and music could expand our aural appreciation and theoretical understanding of each as well as of their shared social and formal properties.

Fall 2000

Introduction to Musicology (MUS 201) Druesedow

TIME (history and chronology, biography), SPACE (culture and ethnic studies, geography), PERCEPTION (analysis and criticism, philosophy and aesthetics).

The course provides an overview of each of these dimensions and covers the basic tools of research. It recognizes the more or less traditional boundaries of these dimensions while encouraging an interdisciplinary approach to study and research. Teacher-student interactions range from colloquium-type teams sessions to seminars with the coordinator and further to tutorials, also with the coordinator.

Music for Large Ensembles (MUS 213) Lindroth

Analysis of selected 20th-century compositions for orchestra and wind ensemble with an emphasis on orchestration. This course will emphasize repertory with a particularly vivid approach to orchestration, examining works from the early part of the twentieth century (eg, Mahler, Debussy, Stravinsky, Janácek) as well as more recent orchestral and mixed chamber ensemble compositions (Lutoslawski, Andriessen, Gordon, Torke, Thomas, and others). Students will give presentations on repertory as well as have short orchestration/composition projects read by the Duke Symphony Orchestra and the Duke Wind Symphony. Final composition and paper.

Collegium Musicum (MUS 228) John

The Duke Collegium Musicum presents vocal and instrumental concerts of early music, and attracts undergraduate and graduate students interested in the performance practices of earlier periods. For information on joining, contact Mr. Antony John at aj5@acpub.duke.edu

The Nineteenth-Century Symphony and Related Forms. (MUS 317S) Todd

The course will focus on selected topics in the symphony and examples of its leading representatives, such as (but not necessarily limited to), Beethoven, Schubert, Berlioz, Mendelssohn, Schumann, Liszt, Brahms, Dvorak, Franck, Bruckner, Strauss, and Mahler. Topics to include issues of orchestration, form versus content, compositional process, and the anxiety of influence.

Seminar in Performance Practice (MUS 318S) Silbiger

Participants will be expected to undertake a theoretical project concerning the performance practice of Western music as well as a practical project. Theoretical projects may deal with issues such as twentieth-century debates on the relationship between score and performance, or the effect of sound recordings on performance traditions. With the practical projects students will introduce the works to be played or sung, and outline the interpretative problems. Works will not be limited to any particular period or type of composition. Consent of instructor required.

Seminar in Ethnomusicology (MUS 382S) Meintjes

Topic TBA

Spring 2000

Topics in Analysis: Representation and Subjectivity in Early Modern and in Modern Theories of Music (MUS 217 ) Moreno

We will contemplate selected analytic models and theories of music articulated during the Renaissance, Enlightenment, and early Romantic periods. Of particular interest will be issues of representation and subjectivity: how music theory represents its object and the how the subject participates in this representation. The tropological historiography of Hayden White and the archeological historiography of Michel Foucault will guide our interpretive efforts alongside two models of subjectivity: Descartes' and Kant's. The class is in two parts. In part 1, we will read Zarlino (Istitutioni, 1558), Descartes (Compendium, 1618), and Rameau (Traité, 1722). In part 2, we turn our attention to particular issues of analysis during the 17th, 18th, and early 19th centuries: (a) the interplay between affect, mimesis, and "structure" in rhetorical analyses by Burmeister (1606) and Mattheson (1739), (b) irony and Kantian subjectivity in Weber's harmonic analysis (1832), and (c) narrative in Momigny's analysis of form (1806). Sources will include, besides the treatise and analyses, reading on historiography (Foucault and White), epistemology and subjectivity (Descartes, Locke, and Kant), as well as relevant secondary literature.

Collegium Musicum (MUS 228) Dickey

Analysis of Contemporary Music (MUS 296S) Jaffe

Our analysis will not be about the implicit structure or coherence of musical notes, but about communicating the physical essence of musical ideas. As much music is still written for live performance or recording, are there better practices to make music come alive in performance? If a composer chooses to experiment with form, notation, and medium, what kinds of challenges does this involve in actual performance situations? Are expected standards restrictive or manageable? What kinds of performer-composer collaboration are most fruitful? Each class will involve actual performances, sometimes quite minimally, sometimes as a result of longer projects. Participating students will be expected to perform short exercises in composing, conducting, editing, and score reading each week, and to prepare a variety of longer projects. Our class will coordinate to a degree with the Encounters concert series, and as such, we will discuss works by Joseph Schwantner, Insuk Chin, and others, as well as classic twentieth century composers such as Igor Stravinsky and Krystoff Penderecki. The seminar will be enhanced by visits by a number of performers and composers.

Bartok in America (MUS 317S) Leafstedt

Bela Bartok developed a highly individual, innovative style of composition in the first decades of the twentieth century. Like Stravinsky and Schoenberg before him, he emigrated to the United States in 1940, where he died five years later. What was the mark of American culture on his music, if any, and how did his presence here, in turn, impact the American musical landscape? This course will examine Bartok's work during his American years, with reference to earlier works in order to present an overview of his artistic development and principal ideas. Works to be studied in depth include the Concerto for Orchestra, the Viola Concerto, Contrasts, and with its North Carolina connection, the Solo Violin Sonata. Selected works by American composers (Kirchner, Crumb) will illustrate the variety of responses to Bartok's music. No exam. Research paper and several presentations.

Manuscript Studies: The Music of Henry Purcell (MUS 317S) Shay

The surviving manuscript sources for the music of Henry Purcell, consisting of a variety of autograph and non-autograph documents, provide an excellent case-study for examining issues of codicology (handwriting, paper type, rastrology, binding, and format) chronology, dissemination, and compositional process, all of which inform critical editing. Students will study and inventory representative sources (working from microfilms and facsimiles). Manuscripts in Special Collections will be consulted to provide exposure to matters, such as paper type, only investigable firsthand. Editorial work will allow the stemmae of particular works to be explored. Class projects will include Purcell's early anthems, which serve to highlight the relationship between autograph and non-autograph sources, and a major opera such as Dido and Aeneas or The Fairy Queen, both of which present an array of nettlesome problems for modern editors.

Fall 1999

Introduction to Musicology (MUS 201) Druesedow

This course focuses on the following: (1) the field of musicology and allied fields, with a concentration on historiography and the historical background; (2) resources for research, including and non-print materials (esp. the Internet); (3) research methodology, with an emphasis on writing. Two research projects and one oral presentation are assigned. Texts include Duckles/Reed, Music Reference and Research Materials, 5th ed. (1997); Helm, The Canon and the Curricula (1994); and Barzun, Simple and Direct, rev. ed. (1994).

Music of the Baroque Era (MUS 224) Silbiger

The course divides into three distinct but related parts. The first part provides a long view of the age, its politics, poetry, art, and music. The second part provides a complimentary look across the breadth, examining the music's rhetoric, geographical and social styles, genres, and topics. These first two parts provides a foundation for the third part, which studies how J. S. Bach uses and transforms Baroque traditions to construct new meaning.

Collegium Musicum (MUS 228) Dickey

Composition Seminar (MUS 295) Lindroth

This seminar will focus on computer music composition and sound design. Students will work with Csound, a versatile software synthesis programming language. Csound is entirely text-based,ie the writes code, not notes (though notes may be useful at some stage in the composition process). It has been used for synthesizer timbre design as well as digital signal processing and sound effects design. Given this versatility, working with Csound tends to call into question the distinctions we tend to make between music and the sounds we encounter in everyday life.

To help get our bearings in this novel musical landscape, we will be listening to and studying important computer music (and electronic music) compositions which will form the basis of assigned presentations by individual students. Works by Stockhausen, Henri, Risset, Dodge, Lansky, Chowning, Xenakis, Harvey, Smalley, Wishart, Barrett, Dashow, Koonce, and others will be included on the repertory list. There will also be readings on the aesthetics and techniques of computer music. It is my hope that these materials will provide students with a philosophical and technical foundation on which they will be able to construct their own compositions.

Motet and Madrigal in the Later 16^th Century (MUS 317s) Haar

A comparative study of structure, style, rhetoric, and social context in two of the leading genres of late-Renaissance music. Case studies will include collections by Lasso, Wert, and (if feasible) an unedited composer.

Studies in Ethnomusicology: Music and Violence (MUS 382S) Meintjes

Studies of music situated in relationship to conflict tend to promote music and music making as a productive mode of expression. That is, musical expression tends to be championed as a resource for building solidarity and engendering resistance, for celebrating or rebuilding 'identities', or for its personal and collective healing capacities. Other less embraceable aspects of music making in times and places of violence seem understudied. This class revisits the studied and develops questions around the understudied. How might we understand the relationships between sound and fury, performance and injury, beauty and pain, forgetting and memorializing, the evocative power of art and war, aesthetics and ethics?

In the first part of the semester, each week will be devoted to a set of current critical readings (e.g. theories of the voice, performance, anthropology of emotion, human rights, global mediation, memory, power). These readings will not all concern violence, but they will offer building blockes to a cumulative theorization.

The second part of the semester will follow a workshop format. Each week will be devoted to a collaboratively constructed case study in which each participant researches a particular parameter of the topic. Case studies could be focused on such topics as Rom music, gangsta rap, refugees, Yugoslavia, lament, the South African struggle, and could include topics put forward by members of the class. Parameters of study could be musical, historical, political, ethnographic, and could cover written, aural, and visual media. Together we will search for modes of analysis and representation that keep both sonic detail and social practice in view.

Spring 1999

Theories and Notation of Contemporary Music (MUS 213) Jaffe

In this seminar, we shall explore the recent musical practices of George Crumb, Louis Andriessen, Gyorgy Ligeti, and others as they are mirrored in the approaches of earlier twentieth century composers. One special aspect of the course will be the opportunity to focus on the work visiting composers Chen Yi and George Crumb, and to participate in a small symposium about Crumb's work on March 6. Crumb will be in attendance as Mary Duke Biddle Distinguished Composer Resident; Chen Yi will visit in January.

Topics will include varied approaches to tonality, rhythmic organization, and the musical implications of pluralistic musical culture.

Music 213 will be useful for those students wishing to obtain a broad overview of 20th century concert music; for those wishing to explore one composer in depth; or for those students wishing to try out compositional ideas or intellectual pursuits on a smaller scale.

Music Analysis (MUS 215) Moreno

Description: Historical, philosophical, and ideological issues raised by music analysis. Intensive study of harmony and voice leading in the works of major tonal composers, with emphasis on the analytic approach of Heinrich
Schenker.

Music of the 19th Century (MUS 226) Todd

This course will investigate the various forms and principal proponents of chamber music during the nineteenth century. Compositions treated, ranging from duets to octets, will include examples from Beethoven, Schubert, Spohr, Mendelssohn, Fanny Hensel, Schumann, Brahms, Cherubini, Dvorák, Debussy, and Schoenberg. Among topics to be explored are the aesthetics of chamber music, the relationship of nineteenth-century chamber music to the classical paradigm, compositional processes, and performance-practice issues.

Collegium Musicum (MUS 228) Dickey

The Collegium Musicum is a small ensemble of voices and instruments devoted to the performance of early music. It is open to all musicians possessing an interest in early music and ability to read choral music of moderate difficulty. The ensemble meets once a week, with a concert scheduled toward the end of each semester. In addition to participating in the ensemble, qualified musicians have opportunities for solo vocal and instrumental performance.

The Tone Poems of Richard Strauss (MUS 317) Gilliam

In this 50th anniversary year of Strauss's death, we shall focus on the composer's important tone poems. As 20th-century musical figure, Strauss's chief preoccupation was opera, with some fifteen stage works to his name. But unlike most opera composers, Strauss began his compositional career as an artist preoccupied with instrumental music. This dual streak in the young instrumental composer's personality--the (earlier) conservative-romantic vs. the (later) Zukunftsmusiker--reflects one of the central dichotomies in late-19th-century symphonic music. The seminar will begin with a general investigation of both aesthetic and structural problems related to the issue of absolute vs. program music, and then moves on to early interpretations of Strauss's tone poems (Muschler, Specht, Steinitzer, Lorenz, Adorno, etc.) The second part of the seminar will focus on specific tone poems of Strauss with particular emphasis on the tension between structural paradigms and narrative or expressive demands of the program.

Studies in Ethnomusicology (MUS 382s) Meintjes

Studies in Ethnomusicology is designed as an introduction to the issues, debates and methodologies in ethnomusicology. We will trace the conceptual history of the field in post-WW II North America by looking primarily at how ethnomusicological discussions about style have developed. We will read key music ethnographies. These texts respond to major social theories of their time and to musicological concerns with sound structure. They offer ways into thinking about the relationship between music style and forms of power, and into thinking about research methodology, and analysis and interpretive techniques for studies of sound and performance, and of expressive forms/artistic process more generally. Reading will be paralled with listening into the sound worlds of the texts.

Fall 1998

Introduction to Musicology (MUS 201) Druesedow

Music in the Renaissance (MUS 223) Brothers

The music of Josquin Desprez. We shall study all genres, relating the music to the biography and to broad stylistic context about the biography will be considered. Josquin's music will be related to music by Okeghem, Busnoys, Compère, Agricola, Weerbecke, Obrecht, and anonymous.

Music in the Classic Era: Late 20th-Century Views of Beethoven (MUS 225) Silbiger

Back in the fifties Chuck Berry was singing "Roll over Beethoven!" but Beethoven has refused to roll over. He was there when the Berlin wall came down, he was there at the Olympics in Nagano, and he continues to be very much there in the writings of current scholars, whether "new" or old musicologists, feminists or neo-Marxists, hermeneuticists or semioticians. This course will address issues of meaning in Beethoven's works, particularly those from his last years, and will examine what, if any, new light is shed on them by recent scholarship.

Collegium Musicum (MUS 228) Dickey

Composition Seminar (MUS 295) Lindroth

This seminar will deal address aspects of music technology through composition and sound design. Students will work with MAX, a versatile MIDI programming environment, and Csound, a set of software synthesis tools. This course will be geared towards musicians and musical applications of technology. The first part of the seminar will be an intense period of learning the software so that the latter part of the semester can be devoted to composing music

Spring 1998

217 Topics in Analysis
225 Opera at the Academie Royale de Musique
227 Vienna: 1890-1918
295 Composition Seminar
317 Jazz and African-American Culture

Fall 1997

201 Intro to Musicology
212 Notation
213 Twentieth-century Orchestral Music
217 Topics in Analysis
226 Music in the Nineteenth Century, Selected Topics
382 Studies in Ethnomusicology

Spring 1997

215 Music Analysis
226 Perspectives on Wagner
229 Collegium Musicum
296 Analysis of Contemporary Music
317 18th and 19th Century Keyboard Music

Fall 1996

201 Introduction to Musicology
203 Proseminar in Performance Practice
222 Music in the Middle Ages
228 Collegium Musicum
295 Composition Seminar: Electronic Music
382S Studies in Ethnomusicology

Spring 1996

212 Notation
224 The Cantatas of J.S. Bach
229 Collegium Musicum
296S Analysis of Twentieth-Century Music
317 Jazz History, ca 1920-1950
382S Studies in Ethnomusicology

Fall 1995

201 Introduction to Musicology
213 Theories and Notation of Contemporary Music
217 Special Topics in Analysis
223 Polyphonic Music from Dunstaple through Josquin
228 Collegium Musicum

Spring 1995

218 Advanced Counterpoint
225 Music in the Classic Era: Late 18th-Century Opera
226 The Mendelssohns and Schumanns
229 Collegium Musicum
296 Composition Seminar/Analysis of Contemporary Music: "The Avant-Garde and Beyond. . "
318 Seminar in Performance Practice

Fall 1994

201 Introduction to Musicology
203 Proseminar in Performance Practice
211 Notation
215 Music Analysis
228 Collegium Musicum
295S Algorithmic Composition
317S 20th-Century Perspectives on Wagner

Spring 1994

212 Notation
213 Theories and Notation of Contemporary Music
215 Music Analysis
223 Music in the Renaissance
229 Collegium Musicum
317 Musical Romanticism in the United States
318 Seminar in Performance Practice

Fall 1993

201 Intro. to Musicology
203 Proseminar in Performance Practice
224 Music in the Baroque Era
226 20th-Century Perspectives on Wagner
228 Collegium Musicum
230 Workshop: Performance Practice
236 19th-Century Piano Music
295 Composition Seminar
296 Analysis of Contemporary Music

Spring 1993

213 Theories and Notation of Contemporary Music
215 Music Analysis
218 Advanced Counterpoint
222 Music in the Middle Ages
226 Music in the 19th Century, French Music at Home and Abroad
229 Collegium Musicum
318 Practice and Theory of Basso Continuo
361 Musical Organology